llfllfllfllfllflllfllfiHUNIHI!INHIIHII"Hillllll + THESIS 3 10496 0376 LIERARY Feminism grate / Universi ty h ‘lfi‘~\\ -~ This is to certify that the thesis entitled fiOmcu Orchestral Conductors: Factors Affecting Career Development presented by Kay D . Lawson has been accepted towards fulfillment of the requirements for MafiL. degree in Music W Major professor Date Z/xr/S’J / / 0-7 639 MS U is an Affirmative Action/Equal Opportunity Institution "’I'V- ‘ I, RETURNING MATERIALS: MSU Place in book drop to LIBRARIES remove this checkout from Ailing-Ill. your record. FINES will ” be charged if book is returned after the date stamped below. ‘s A! E ’ M New 2C? ! ‘ JUN 15:: g". 1' .Y ~£ ' i ‘ n " ‘7‘ é 1' Yd' I ‘ 5". '1- x .4 '. '- Juli/J _ . .- a} "-7" 2558 1233999 ‘4'“ 1,3200% JAN1.220m 011%0 (gr) 5365;}, 7" ha WOMEN ORCHESTRAL CONDUCTORS: \\ FACTORS AFFECTING CAREER DEVELOPMENT By Kay D. Lawson A THESIS Submitted to Michigan State University in partial fulfillment of the reouirments for the degree of MASTER OF MUSIC Department of Music ABSTRACT WOMEN ORCHESTRAL CONDUCTORS: FACTORS AFFECTING CAREER DEVELOPMENT by Kay D. Lawson A historical overview of sociological and educational factors revealed evidence of their influence in the career development of women orchestral conductors in the nineteenth and twentieth centuries. The study was amplified with questionnaire responses received from professional women conductors: Victoria Bond, Beatrice Brown, Carolyn Hill, Margaret Hillis, Frances Steiner, and Antonia Joy Wilson. These conductors' performances, educations, and careers, in addition to research that encompassed the activities of other women conductors, represented important aspects of the study. The study concluded that educational opportunities have increased gradually for female conductors since the nineteenth century. However, social institutions revealed less change and presented obstacles to the continuing success of women conductors. The research neither attempted the inclusion of all women conductors, nor presented a complete investigation of sociological and educational factors that affected the careers of women conductors. QCopyright by Kay D. Lawson 1982 ACKNOWLEDGEMENTS The writer recognizes the time, patience, and considerable advice extended in reviewing the text of the project by the thesis committee - Mr; Stanley DeRusha, Dr. Melanie Stuart, and Dr. Charles McDermdd. With special recognition and in gratitude, for his continued support and encouragement throughout the completion of the study, I thank my husband, Steve. iii TABLE OF CONTENTS List Of Tables 000.00.000.00 0000000 . 0000000000 000000000. Introduction .... ....... ..... ...................... .... Chapter I The Nineteenth Century ........ Development of Women's Orchestras ........... ll CarelineNiChOJ-S 00.0.00. ....... 0000.00.00.00 Emma Steiner ....... ..... 16 Chapter II' 1900 - 1950 000.0000... ooooo no 21 Women's Orchestras of the 1930's and 1940's.. 24 Ethel Leginska .............................. 31 Antonia Brico ........... 35 Chapter’III 1950 - 1970 60000009.... oooooo 5O Margaret Hillis . ............ ................ Beatrice Brown .0000.......OOOOOOOOOOOOOOOOOO 67 Chapter IV Contemporary‘EVomen.Conductors .................... 76 Margaret Harris ....... 77 Eve Queler and Sarah Caldwell 78 Judith Somogi ........... 88 VietoriaBond 00...0.00000000000000.000000000 91 Frances Steiner .................... ....... .. 97 Carolyn Hill ............ 101 Conclusions ........................ 107 Recommendations ................... 116 Appendix A .......... ..... ... ...... 118 Appendix B ........................ 125 References 00000000000000.0000 0000000000000000 0.00.0000 126 Bibliography 0.00.0000 ..... 00.00000. 131 iv LIST OF TABLES TableI 0.00.00... cccccccccc ooooo oooooooo o ...... 0...... 52 Table II 00000.0...0000000000000...000.000.00.00.000000 96 INTRODUCTION The musical development of conductors is tied closely to the sociological and educational factors within an historic period. This research presents evidence of the sociological” and educational factors as they affected the development of American women conductors. Hence, the purpose of this study was to: a) present biographical information concerning selected women orchestral conductors in America. b) present the sociological and educational factors important to the professional development of selected women orchestral conductors, and c) present these ideas in a historical framework. The research was limited to the nineteenth century through the present for two reasons: 1) conducting, as it is recognized today, was developed largely in the nineteenth century, and 2) documentation of women's activities in the conducting field was negligible prior to the nineteenth century. 'Women conductors selected for inclusion within this study either limited their professional1 pursuits to orchestral conducting, or aspired to attain that goal. 1The term professional designates one who is "engaged in an activity as a means of livelihood or for gain". (from the Random House Collegiate Dictionary, 1969) l 2 The search for primary and secondary sources was extensive. To obtain primary sources, a general search for Wbmen conductors was initiated and a list was compiled. Research was conducted to determine the specializations of these women and then narrowed to orchestral conductors. Professional women conductors were contacted by mail to determine individual interest for participating in the study. ‘When confirmations were received, a questionnaire, which appears as Appendix A, was forwarded. In three instances, a cassette tape was included for recording individual responSes. From among the 13 women contacted, no replies were received from six and Eve Queler declined, citing professional commitments. Of the six who participated, Victoria Bond, Carolyn.Hill, and Frances Steiner returned their responses on cassette tapes. Margaret Hillis requested a personal interview for which a trip to Chicago was necessary. Beatrice Brown conveyed her responses over the telephone and Antonia Joy‘iilson chose to reply utilizing a written format.2 Research concerning information related to the project was completed at the Michigan State University Library, East Lansing and included the historical significance of women's social roles and their educations, .American historical periods, the professional aspects of conducting and conductors. Numerous nineteenth century serials were searched at the Rackham Music Library, University of Michigan. Symphonies and orchestras in the United States, known to have 2Transcripts of the questionnaire responses are on file with the writer and available upon request. 3 hired women guest conductors, were contacted for biographical and career information.3 Although the contributions of men conductors are researched well, the activities of women conductors are not researched well.4 Nonetheless, researchers of the past decade indicate that women musicians have made significant contributions to the musical history of the United States, documented by: Block and.Neuls-Bates (1978),‘Xomen in American Music: A Bibliography of Music and Literature, and Tick (1973) Women as Professional Musicians in America, 1870-1900, which documents the work of women instrumentalists, composers, and teachers. (Additional work by Tick (1978) can be found in her dissertation, Toward a History of Nomen Composers in the United States Before 1870.) Still, compared with men musicians, women have received little attention. For example, Ammer (1980) states that two extensive surveys of American muSic were published during the 1970's bicentennial celebration, but the contributions of only one woman were included. Furthermore, she states: Several years of research showed that women indeed have been writing and performing music for as long as men have. But, owing to the local climate of earlier times, their work 3A complete list of orchestras appears in the bibliography. - 4Boult, A.C. Thoughts on conducting. London: J.M.. Dent Phoenix House,—1963. Chesterman, R. (Ed.) Conversations with conductors. London: Robson Books Ltd., 1976. Hart,?. New York: Scribner's sons, Conductors:T979. a new generation. 4 went unnoticed, unpublished, unperformed, and was quickly forgotten. Iany areas of research concerning women musicians remain undocumented. In an effort to encourage research in the area of women musicians, Pool (1978) observed: After several years of reseaghh I am still overwhelmed when I consider: 1) how little work has been done and is available on this subject; 2) the multitude of inaccuracies and discrepancies in the material that is available, especially the information to be found in standard musicological research materials, and 3) the magnitude of work that needs to be done.6 Women conductors in American musical history constitute a small group, notably during the nineteenth century, when only a few were successful. However, during recent years increasing numbers of women are occupying the podiums of professional American orchestras. 'Because conducting requires a unique combination of skills, talent, and personality, the field of conducting is difficult and competitive for both men and women. However, these women's successes represent the results of diligent work, and perseverance in a difficult field. Certainly women made significant contributions to the field of music, not the least of which are their own lives as models for success, important to the development of aspiring conductors. 5Ammer, C. Unsun : a history of women